Monteverdi’s Poppea and After

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1 Monteverdi’s Poppea and After
Week 4

2 Monteverdi’s Poppea 退休後寫下3部歌劇 For the Teatro SS. Giovanni e Paolo
Academy of the Disquised: Society of libertine Do their best to subvert the values of court theatricals for the greater enjoyment of paying public Celebrates neither the reward of virtue nor the chastisement of vice Celebration of vice triumphant and virtue mocked 精簡的樂團加上超技的聲樂 滑稽的情結與嚴肅的悲劇的並置 Topics of operas included mythological subjects at first; epic tales and historical war tales became popular mid-century Striking stage effects portrayed clouds with choruses of singers, magical transformations, etc

3 Prologue The goddesses of Fortune, Virtue and Love dispute their respective powers.  Love vaunts her pre-eminence and claims to be master of the world, as the story of Nero and Poppea will prove. 3 Acts Emperor Nero, enamored of Poppea, who was the wife of Otho, sent the latter abroad so that he could pursue her. On returning, the despairing Otho is commanded by Octavia, wife of Nero, to kill Poppea. Otho promises to do it, but lacking the spirit to deprive his adored Poppea of life, he dresses in the clothes of Drusilla, who was infatuated with him. Thus disguised, he enters the garden of Poppea, but his love still prevents the fatal blow. The plot is discovered; Octavia is expelled from Rome, and Nero makes Poppea his wife. Seneca is sentenced to death, and Octavia is expelled from Rome. Topics of operas included mythological subjects at first; epic tales and historical war tales became popular mid-century Striking stage effects portrayed clouds with choruses of singers, magical transformations, etc

4 Poppea的加冕 Monteverdi 最後作品
Topics of operas included mythological subjects at first; epic tales and historical war tales became popular mid-century Striking stage effects portrayed clouds with choruses of singers, magical transformations, etc

5 Poppea的加冕 Monteverdi 最後作品 Virtuosic vocalism Duet Comic scenes
Topics of operas included mythological subjects at first; epic tales and historical war tales became popular mid-century Striking stage effects portrayed clouds with choruses of singers, magical transformations, etc

6 Poppea的加冕 主要角色 Ottone contralto castrato Stefano Costa Poppea soprano
Anna di Valerio Emperor Nerone soprano castrato Baldassarre Ferri Arnalta, Poppea's nurse contralto or tenor Empress Ottavia mezzo or soprano Anna Renzi Seneca bass Drusilla Fortuna, a goddess Virtù, a goddess Amore, a god soprano or light mezzo Topics of operas included mythological subjects at first; epic tales and historical war tales became popular mid-century Striking stage effects portrayed clouds with choruses of singers, magical transformations, etc

7 POPPEA My lord, do not go; let these arms of mine Entwine your neck, As your beauties entwine my heart. NERONE Poppea, let me go …. Do not go, my lord, do not go. Dawn is just breaking, and you who are my incarnation of the sun, my light made tangible, and the day of love in my life – why so soon, why do you wish to leave me? Say that you are not leaving! For at the mere sound of such harsh words, Ah, I feel my soul dying, expiring. Since you are of noble birth, Rome must not know that we are one until O�avia is set aside by my renunciation. Go, beloved; in a sigh welling up from the depth of my heart, I hide a kiss, my dearest, and a farewell. We shall soon meet again, my idol. My lord, you see me always; And yet you never see me. For if it is true that I am hidden within you, in your heart, your eyes cannot behold me. My beloved eyes, then stay! Remain, my Poppea, my heart, my beauty, my light! Say not that you are leaving! NERONE Fear not; you are always with me, splendour in my eyes, and deity in my heart … POPPEA Will you come back? Though I leave, yet I stay with you … My heart can never, never be taken from your eyes …. I cannot live away from you unless unity itself is divided I will. When? Very soon … Very soon, you promise? I swear it! And will you keep your vow? And if I do not come to you, you will come to me. Farewell Nerone, farewell. Farewell Poppea, my love.

8 ARNALTA: Oblivion soave
Lie down now, Poppea, hush, my darling; you shall be guarded. May gentle oblivion lull sweet thoughts in you, my child. Now rest, thievish eyes; why stay open if you can steal all hearts even when closed? Poppea, rest calmly; dear eyes, fond eyes, sleep now, sleep. Lovers, behold a new miracle; the day is bright as usual and yet you see the sun asleep.

9 Pur ti miro NERONE & POPPEA
I gaze at you, I rejoice in you, I embrace you, I enchain you, no more do I suffer, no more do I die, O my life, O my treasure. I am yours, you are mine, O my hope, say it, say, you are my idol, yes my love, yes my heart, yes my life, yes I gaze at you etc…

10 Pur ti miro Pur ti miro (L'incoronazione di Poppea) - Rial, Jaroussky
Monteverdi - L' Incoronazione di Poppea Pur ti miro

11 Poppea的加冕 Monteverdi 最後作品 宮廷歌劇 特殊事件 出版紀念
商業歌劇 不出版 如 Broadway show 不斷修訂 為不定劇院 不同用途 Topics of operas included mythological subjects at first; epic tales and historical war tales became popular mid-century Striking stage effects portrayed clouds with choruses of singers, magical transformations, etc

12 Monteverdi後, Venice歌劇 Cavalli, Cesti 更抒情的風格 (Bel canto??)
此風格強調的是聲樂美感。一開始歌劇的發展是極強調戲劇化的，而到了17世紀中期則走上抒情的風格，與之前的發展剛好與成為兩種極端， 以獨唱為主，。 Recitative與Aria分離, simple Recitative: repeated notes 多種aria特有的風格 儘管佛羅倫斯的作曲家強調歌詞在音樂之上，但後繼者則反之, 變成強調音樂大於戲劇。把曲調唱得甜美才是至高無上的目的，這種情形大體上在義大利歌劇持續了往後二百年。

13 Cesti (Cesti: Orontea) Intorno all’idol mio “Around my idol”
分節體 Strophic

14 1650 Italy

15 Venice之外的歌劇 17世紀後半期的歌劇發展，17世紀後半期是義大利歌劇從它本土Venice發展成熟以後走向國際化的一個過程，一定的風格，以及主要的樂派在這個時候產生，乃至於奠定義大利在歌劇屹立不搖的地位，17世紀後半期的歌劇的特質： 大家開始喜歡喜歡華麗複雜的佈景道具、 在聲樂要求有超技的技巧、 完全幾乎不使用合唱、在劇情上會參雜嚴肅和滑稽的劇情。

16 Naples 歌劇在十七世紀後半期，由義大利Venice逐漸向外(其他國家)擴展。
十七世紀晚期，Naples開始興起，成為歌劇發展的另一個中心。最主要的作曲家Alessandro Scarlatti亞歷山卓史卡拉第，先承襲威尼斯樂派，而後成為十八世紀(Bach、Handel的時代)整個歐洲歌劇的主要風格。它代表著17世紀歌劇到18世紀風格的進程。

17 Naples歌劇 Alessandro Scarlatti( ) 掌控Naples17世紀末至下一世紀的歌劇趨勢，Naples從十七世紀末開始，大約經過一百年，以Scarlatti為首的一些作曲家們奠定歌劇一般型式。 這些形式雖非Scarlatti所創, 大多由Scarlatti標準化且流傳 以下為例

18 da capo aria 反始詠唱調 da capo aria 反始詠唱調
Ritornello A Transitional Rit B A (器樂間奏) (過門用的器樂間奏) (關係大調) C minor Modulation to E C minor 反始詠嘆調── close section 閉區間 、 三段式 ABA

19 Recitative 返始詠唱調形式(da capo aria)成為時代的主流。Scarlatti還在recitative中用管弦樂的伴奏來緩和同詠嘆調之間的對立。 Recitative分為兩種 Recitative secco (dry recitative) 獨唱+數字低音 Recitative obbligato 獨唱+管絃樂團

20 Recitative Recitative obbligato 獨唱+管絃樂團 Handel: Julius Cesare

21 Italian Overture義大利序曲
這時歌劇的情況是recitative和aria交替出現，每個aria會被編號，受觀眾的喜好驅策，aria數量可達60首, 較早期多的多。這類型的歌劇非常強調solo singing獨唱的唱腔。這些solo的唱腔非常在乎音樂的優雅，取代過去戲劇化的效果，到18世紀看到的aria都是較為抒情的。另外Scarlatti的重要貢獻，是他所奠基的拿坡里序曲形式叫〝Italian Overture義大利序曲〞

22 Sinfonia: Italian Overture
定型為〝快─慢─快〞的形式(拿坡里風格的歌劇序曲，為多樂章器樂曲的雛形)。 以燦爛的節慶樂開始, 慢抒情中段, 舞曲作收 舞曲 標準的舞曲2段體 不論是sinfonia〝Italian Overture義大利序曲〞或是〝French Overture法式序曲〞，都會成為將來18世紀器樂形式的基礎，等於是從歌劇的序曲中，衍伸出大型的管絃樂曲，早期所謂的交響曲即為快─慢─快的形式，器樂的發展有很多都歸功於歌劇。